TRANSLATIONS

next page previous page up home

Next page:

 

Although neither the G nor the K text are using tara glyphs it is anyhow possible to coordinate (put in parallel) text sequences in G and K with sequences including tara, for instance in E:
 
Eb7-36 Eb7-37 Eb7-38
Ga1-19 Ga1-20 Ga1-21

In Ga1-19 only the 'gap' seems to have been drawn - the 'tail' is not incised in the glyph, i.e. the glyphs possibly do not convey the same message. Yet, the writer of G never used a tara glyph and the general message can therefore be the same. The writer of E, on the other hand, never used a marama glyph with such a peculiar 'spur' at the bottom end (and neither did the writer of G use this sign in any other marama glyph).

The argumentation for Eb7-36 conveying the same message as Ga1-19 must, however, be faulty: In Ga1-20 a 'sleepy old bird' (moe) tells about the 'horizon in west', while in Eb7-37 a person of another 'age' is drawn. The structure is the same but the content is different.

In E there is only one more glyph like Eb7-38, viz. Eb8-29:

Eb8-29

I suggest this type of glyph may be associated with the tara glyph type. The facts are presented here.

What is the difference in character between Eb7-37 and Ga1-20? The latter (moe according to Metoro) I have in my mind come to think of as a 'tired old bird', yet there may be a strictly astronomical meaning conveyed by moe, possibly 'going down at the horizon in the west' (setting).

In Eb7-37 the globular body without legs cannot mean 'standing high', and the hands are held down to the earth - could it mean down in the earth? Looking in the glyph catalogue I find the following somewhat similar glyphs:

 

Aa7-50 Ca10-29 Ca11-3 Ca11-13 Da4-110 Eb-737 Sb7-227

The 3 C-glyphs and Sb7-227 have their hands inwards, which ought to mean something else.

The opposite of 'standing high' with hands raised high above (zenith) is nadir - as far down as possible. The idea is strengthened by the pair Aa7-50--51, where pure presumably means 'the lifeless world':

 

Aa7-50 Aa7-51

 

The glyph type with features from both maitaki (left) and marama, (right), e.g. Eb7-38, may be - I have stated - positively correlated with the presence of tara glyphs. In the text of E (where my idea originated) it is easy to see that the statement probably is true. The only two instances are Eb7-38 and Eb8-29:
 
Eb7-36 Eb7-37 Eb7-38
Eb8-13 Eb8-14 Eb8-15 Eb8-16 Eb8-17 Eb8-18 Eb8-19
Eb8-20 Eb8-21 Eb8-22 Eb8-23 Eb8-24 Eb8-25 Eb8-26
Eb8-27 Eb8-28 Eb8-29 Eb8-30 Eb8-31 Eb8-32 Eb8-33
Eb8-34 Eb8-35 Eb8-36 Eb8-37 Eb8-38 Eb8-39 Eb8-40

Eb8-26 (note the numbers!) I connect with Da4-102 (though the hand gestures indicate a different 'station'):

 
...
Da4-101 Da4-102 Da4-103
Da4-104 Da4-105 Da4-106 Da4-107
Da4-108 Da4-109 Da4-110 Da4-111
Da4-112 Da4-113 Da4-114 Da4-115

One hand down and one up in Da4-110 is similar to one fist down and one up in Eb8-27 and Da4-111 seems to be close in meaning to Eb8-29. Two fishes up (Da4-103 and Da4-107), meaning 'life', are followed by two glyphs indicating 'death' (Da4-108 and Da4-112). Da4-111 and the pair Eb7-38 and Eb8-29 are located at the dark time in the cycle.

 

It is possible to deduce that Eb7-38 and Eb8-29 are connected, by way of looking at the intermediate glyphs and comparing with the texts of G and K:
 
Eb7-36 Eb7-37 Eb7-38 Eb7-39 Eb7-40 Eb7-41 Eb7-42
Eb8-1 Eb8-2 Eb8-3 Eb8-4 Eb8-5 Eb8-6
Eb8-7 Eb8-8 Eb8-9 Eb8-10 Eb8-11 Eb8-12 Eb8-13
 
We recognize the text at the beginning of K, for instance in Eb8-2 and Eb8-5 resembling the glyph type exemplified by e.g. Ka2-14 (the 2nd of some 8 similar glyphs). And Eb8-1 (the 1st glyph in a new text line) we can identify with Ka2-9--10 (also at a kind of beginning):
 
Ka2-5 Ka2-6 Ka2-7 Ka2-8 Ka2-9 Ka2-10 Ka2-14 Ka3-1
Eb7-39 Eb7-40 Eb7-41 Eb7-42 Eb8-1 Eb8-2 Eb8-6
Eb8-3--5 (see at right) evidently correspond to Ka2-11--22.
Eb8-3 Eb8-4 Eb8-5
 
As to the 4 tao glyphs in E, there presumably is a connection with an earlier text sequence in K (and G):
 
Eb8-6 and previous glyphs - see above.
Eb8-7 Eb8-8 Eb8-9
Ga1-19 Ga1-20 Ga1-21 Ga1-22 Ga1-23 Ga1-24
*Ka1-22 *Ka1-23 *Ka1-24 Ka2-1 Ka2-2 Ka2-3
Eb8-13 is a tara
Eb8-10 Eb8-11 Eb8-12
- - etc - see above
Ga1-25 Ga1-26
- -
Ka2-4 Ka2-5 Ka2-6

Notice how Ga1-19--21 probably correspond to Eb7-36--38 - the order between the text segments are not the same. Ga1-19 is not a tara, but close to it.

*Ka1-24 together with *Ka1-22 are similar to Da4-111:

 
Da4-109 Da4-110 Da4-111
*Ka1-22 *Ka1-23 *Ka1-24
Ga1-19 Ga1-20 Ga1-21
Eb7-36 Eb7-37 Eb7-38

Here in the Translations it is possible - by going deeper and broader and compare with other facts - to confirm what is stated in the glyph dictionary. Yet, new problems show up: What is the connection between the standing ragi in Da4-109 and tara? I have - so far - registered no similar glyph in the catalogue.

The last page of those from the hyperlink 'here' (intended to show how tara glyphs are associated with glyphs like Eb8-29 and Eb7-38):

Glyph sequences are evidently longer than what we may call 'text segments'. Using the experience just gained from comparing the end of side b on E with the beginning of side a of K (and G), it is possible to break down the glyph sequences into text segments:
 
A cfr *Ka1-22--24 1
Eb7-36 Eb7-37 Eb7-38
B cfr Ka2-5--10 3
Eb7-39 Eb7-40 Eb7-41 Eb7-42 Eb8-1
C cfr Ka2-11--22 4
Eb8-2 Eb8-3 Eb8-4 Eb8-5 Eb8-6
D cfr Ka2-1-4 2
Eb8-7 Eb8-8 Eb8-9 Eb8-10 Eb8-11 Eb8-12

For some reason the creator of E decided to put the equivalent of the 2nd text segment in K (see numbers at right) at the end of these four text segments. The redmarked area, on the other hand is described in the same order in E and K (and G).

The lesson is important - parallel glyph sequences are not showing where parallel texts begin and end, the latter can stretch longer than what is evident from the parallel glyph sequences.

In the K text (I have stated earlier) we must not identify such glyphs as Kb1-13 and Kb4-18 (which include tao) with such glyphs as Ka1-202 and Kb4-10 (which instead have marama):

Ka1-202 Ka1-205 Ka4-5 Ka4-8 Kb1-9 Kb1-13
*Ka1-21 *Ka1-22
Kb4-10 Kb4-13 Kb4-18 Kb5-304

Kb1-9 is a special case, with neither tao nor marama but tapa mea. I associate tapa mea with sun, while tao seems to have the qualities of the pregnant earth mother.

I imagine the two 'sails' refer to the two half-years, while three 'sails' may point at the sun. Ka1-202 and Kb4-10 - with marama and three 'sails' - could mean another stage, when sun is carried away. Kb4-10 is the first glyph in 29th period:

29
Kb4-10 Kb4-11 Kb4-12 Kb4-13 Kb4-14

Ka1-202 is at the beginning of the text (and, presumably, of the cycle), while Kb4-10 is at the end. End and beginning are close.

In Keiti there are no glyphs like the '2-sail marama' glyphs in K, and the only instances with '2 sails' are Eb1-7 and Eb2-1:

Eb1-7 Eb2-1

Both these glyphs are connected with the concept of beginning, I think, and most interesting: the high position of the two 'sails' in Eb1-7 is exactly like that in Ka1-205:

...
Ka1-101 Ka1-102 Ka1-201 Ka1-202 Ka1-203 Ka1-204 Ka1-205
*Ka1-17 *Ka1-18 *Ka1-20 *Ka1-21 *Ka1-22 *Ka1-23 *Ka1-24

This is intriguing. At the beginning of side b in E we recognize a glyph located at the beginning of side a in K. Let us look at the beginning of side b in E:

Ea9-25 Ea9-26 Ea9-27 Ea9-28 Ea9-29 Ea9-30 Ea9-31
Ea9-32 Ea9-33 Ea9-34 Ea9-35 Ea9-36 Eb1-1 Eb1-2
Eb1-3 Eb1-4 Eb1-5 Eb1-6 Eb1-7 Eb1-8

Counting long the distance from Eb1-7 to Eb2-1 results in 36 glyphs, and we can recognize some similarities between e.g. Ea9-31 and Eb1-42, Ea9-29 and Eb1-42, Ea9-27 and Eb1-40:

Eb1-37 Eb1-38 Eb1-39 Eb1-40 Eb1-41 Eb1-42 Eb2-1
Ea9-25 Ea9-26 Ea9-27 Ea9-28 Ea9-29 Ea9-30 Ea9-31

Eb2-1 is the 7th glyph in the 1st period (containing 20 glyphs) in the calendar in E.